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SuvarNa KannaDa Compositions:

KarnaaTaka State of India is proudly celebrating its Golden Anniversary of reunification of all Kannada speaking districts
as part of the state. Some of my Kannada friends suggested that I compose some music to commemorate this occasion.

Note:You may have heard of bengaluru (earlier called Bangalore), popular as the "Software
Valley" of India. bengaluru is the capital of KarnaaTaka State. The language of the state is KannaDa. SuvarNa means Gold.

KannaDa Vaani (means KannaDa language. I have composed this in the sacred and eclectic raaga Saraswati) (Slow)
(This raaga and composition is meant to be enjoyed in a meditative mood. It is very soothing)

I have been experimenting
with Indian raagas for many years. I have posted below some of my musical compositions employing my techniques. I swap the
swaras in a composition that are conforming to a chosen raaga in their aarOhaNa (ascending order) and avarOhaNa (descending
order) flows. Sometimes, I also scramble the swaras thus disrupting their original flow. The resulting composition may either
metamorphosize into another "raaga" or may sometimes maintain some of the curve and curve combination characteristics, while
morphing partially.

NOTE: The names of the
raagas shown below are the raagas BEFORE scrambling and swapping.

Murthy is a musician, music director, musicologist, composer, researcher
and inventor in music. His compositions have a wide range of music genres to include Indo Jazz, Western Jazz, Indian Classical,
Indian Light, Indo-Western Classical Fusion, Chinese and New Age. He has also developed detailed ideas for revolutionary new
musical instruments, incorporating novel features and paradigms.

You may listen to his music compositions in other music web sites also. Here are some of his music sites:

He is a poet and writer, actor and famous public speaker. He has also developed paradigm
shifts in poetry, short story, theatre and fine arts. He has developed innovative team and player analysis, comparison, objective
player selection procedures and statistical presentation for Cricket.

You may search in GOOGLE search engine with key
words "KRS" and "Murthy" to see numerous references to his work, encompassing many areas.

He has developed numerous
techniques and many paradigm shifts in Indian Classical Music. Some techniques and paradigm shifts apply to all traditions
of music around the world.

He currently has for over 2000 compositions to his credit, all original employing his paradigms
and techniques. The compositions range from 5 minutes to 50 minutes, with most of them in 10 to 15 minutes range.

The
compositions are in the following Yahoo music groups:

1. RhythmicDiversity

2. DivineMusic

3. Natana

4.
Naarada

5. Alaapana

6. Exoticrhythms

7. Sweet_Music

8. Naarada

9. ChineseMelody

10.
GeneticMusic

11. RaagaTechno

12. 1raagafestivals

13. karnaaTakaMusic

You need to sign up and be a group member (FREE) of any one or all of the above music groups
to listen to music in this group. You may send me an email so that I could sign you up.

You will be able to listen
to my music compositions by choosing any one or more music group and going to 'Files'

There are many folders containing
music. You need to have any one of the following media players, downloadable FREE from many websites like www.download.com

1.
Windows Media Player - Even though this is one of the better players, it is better for you to save the MIDI file for a particular
composition on my website onto your computer and then play.

2. WinAmp

3. Apple QuickTime Player - This player
seems to launch readily and quickly.

Please make sure to choose one of these player as the DEFAULT player in the selection
options on your computer.

Rhythmic Diversity Paradigm in music

All of us desire and so hold discussions on the
theme of diversity of religions, cultures, and schools of thoughts with colleagues and friends. I wanted to contribute a composition
named Unity in Diversity to promote peace. Let us hope that some unity evolves out of diversity.

Introduction to Rhythmic
Diversity:

Rhythmic Diversity is a new paradigm in music, applicable to vocal and instrumental music, and to music
of all genres of the world.

Multiple rhythms coexist, complementing each other, yet maintaining their own rhythmic
personalities. In other words, music with multiple rhythms are weaved together adeptly so that the different rhythmic music
are expounded to 'come in and play' and 'fade out or abruptly exit' at different times. The different rhythmic musical pieces
interplay with each other. In instrumental music, different instruments are used in different rhythms, where as in vocal music,
different singers may sing. The music could be a mix multiple genres. They could also be classical / traditional, folk or
new age genres.

The rhythms do not need to have coincident start and stop punctuations. They do not need to have any
beat multiplier commonality, like the lowest common multiple (LCM) as used in some musical genre.

Dance could also
be choreographed to the music of rhythmic diversity, with multiple dancers or dance groups dance synchronizing to the different
interplaying musical pieces. The dance genres may be classical, folk or new age.

This Yahoo group features instrumental
music composed by KRS Murthy using the paradigm of 'Rhythmic Diversity' invented and developed by him.

You may also
go to my music composition website to listen to my compositions FREE. It is at:

Murthy's Business Profile

Murthy is a seasoned corporate governance expert, scientist, technologist, serial entrepreneur
and serial C Level executive in Fortune 50 and many companies rated as the fastest growing in USA and the World.

MERGERS
AND ACQUISITIONS:

Extensive Mergers and Acquisitions Expertise and Track Record: Led the M&A of few multibillion
and many multimillion dollar acquisitions and deal negotiations. It includes: Acquisition of divested business during
and after the merger of Bell Atlantic and GTE to form Verizon Acquisition of the Power Systems Business of Lucent Business
segments / units of Winstar Value added reseller and system integration business of H-Power fuel cell company A telecom
system integration company focused on government business An ASP (Application Service Provider) in the ISO 9000 and Quality
Assurance Documentation Server company A company specialized in Wireless Local Loop business An independent CLEC-ILEC
Due diligence of a 125 bed hospital in Atlanta

M&A and Due Diligence

With a long track record of M&A
deals and due diligence, Murthy has developed extensive methodologies and corporate evaluation techniques with a proprietary
suite of valuation metrics used in due diligence. Murthy has also developed proprietary techniques for M&A sprees applicable
to many industry and market segments.

FUNDAMENTALS OF INDIAN MUSIC

Jeeva swara: raagas are characterized and distinguished from other raagas
by their uniqueness while they are expounded. One of the important uniqueness is its jeeva swara. Jeeva swara is given that
name, the word “jeeva” meaning “life”, because that swara defines the “soul” of the raaga.
While expounding the raaga, the jeeva swara is played or sung more than all other swaras, except the aadhaara shruti shaDja
or sa. In fact, the aadhaara shruti shaDja defines the frame of reference for the raaga or the complete music concert. For
the shaDja to be the frame of reference, it is continuous played in the background using a drone musical instrument like the
tamboora. Thus shaDja is the swara played / sung most of the time, with the jeeva swara being the only the second most dominant
swara in the musical presentation. There are many ways to maintain the jeeva swara in a musical presentation. Here are some
examples:

üEnsuring that the jeeva swara is used more than other swaras statistically. If one were to literally
count the number of all swaras played or sung over a given duration, the jeeva swara is the dominant or the anchor swara compared
to all other swaras of the raaga, except for the aadhaara swara shaDja.

Discussion and Demonstration of mELakarta

Note:
You may directly go to the list of demonstration compositions if you already know the concepts or mELakarta and jeeva swara.
However, I strongly urge you to review this material to understand, clarify or reinforce your understanding of these concepts.

mELakarta raagas were defined by the famous
musicologist / musician venkaTamakhi. He defined, categorized and named the 72 mELakarta raagas. You can read about it in
many music text and reference books and internet.

By definition, mELakarta raagas allow all
possible permutations and combinations of the different swaras, without regard to any one swara being the jeeva or anchor
swara, as long as the 7 defined swaras for the mELakarta raaga only are used in singing or playing the raaga. In other words
all swaras of the raaga are equally important. While expounding the raaga, one could use any one or more of the swaras ri,
ga, ma, pa, dha and ni repeated more than the other swaras of the mELakarta raaga, as long as one does not eliminate any one
or more of the swaras of the mELakarta for too long or completely. In principle,
one could expound the mELakarta raaga with one jeeva swara or two jeeva swaras or up to all six swaras or no jeeva swara at
all. All these possible expansions are part and parcel of the mELakarta raaga. In addition, any and all possible vakra combinations
are all part of the mELakarta raaga. Any janya (derivative) raaga with seven, six or five swaras taken at a time derived from
the mELakarta could be using one or few jeeva swaras and / or specific some characteristic saraLa and vakra swara combinations
distinguish it from other raagas specializing in other saraLa or vakra combinations chosen from the parent (janya) mELakarta
raaga. Thus, a mELakarta is the parent for all the auDava, shaaDava and smapoorNa raagas derived from it with their own distinguishing
musical characteristics.

Demonstration of mELakarta and jeeva
swara through music compositions:

I have expounded the different mELakarta raagas in the following
compositions. You may click at any composition of your choice to listgen to it.

You may note that I have used different musical timbres (pronounced
as if it is “taamber”) to distinguish and separate the different parts of the composition. Here are the descriptions
of the different parts of the demonstration:

In the beginning
part, I have demonstrated the ascending (aarOhaNa) and descending (avarOhaNa) orders of the mELakarta. I have repeated the
aarOhaNa and avarOhaNa in octave 4, 5 and 6. Octave 5 is the middle octave. In Indian music, the octave is called “sthaayee”.
I have started with a very slow pace and stepped up to a faster pace. The remaining
parts are shown in this faster pace.

You may note that the order is: Starts at Octave 5 ShaDja;
Octave 5 Up; Octave 5 Down; Octave 4 Down; Octave 4 Up; Octave 5 Up, Octave 6 Up; Octave 6 Down – ending up back at
the shaDja of Octave 5. Here Up refers to aarOhaNa and Down refers to avarOhaNa.

In the second
part, I have chosen panchama or pa as the jeeva swara. You may note that the musical curves and curve-lets either start or
end in panchama or pa in this part. Some musical curves are centered around pa.

In the third
part, I have chosen madhyama or ma as the jeeva swara. You may note that the musical curves and curve-lets either start or
end in madhyama or ma in this part. Some musical curves are centered around ma.

In the fourth
part, I have chosen gaandhaara or ga as the jeeva swara. You may note that the musical curves and curve-lets either start
or end in gaandhaara or ga in this part. Some musical curves are centered around ga.

In the fifth
part, I have chosen rishabha or ri as the jeeva swara. You may note that the musical curves and curve-lets either start or
end in rishabha or ri in this part. Some musical curves are centered around ri.

In the sixth
part, I have chosen dhaivata or dha as the jeeva swara. You may note that the musical curves and curve-lets either start or
end in dhaivata or dha in this part. Some musical curves are centered around dha.

In the seventh
part, I have chosen nishaadha or ni as the jeeva swara. You may note that the musical curves and curve-lets either start or
end in nishaadha or ni in this part. Some musical curves are centered around ni.

In parts eight
through twelve, I have repeated parts 2 through 7 in a higher taaLa or pace.

Finally, I have repeated the aarOhaNa and avarOhaNa sequences starting with the fastest pace,
reducing it to the lower and the lowest paces.